(Bruno Dumont, 2009) - Finally got around to watching this on the New Wave Films release, even though I've had copies of this in various forms for the past few years. It seems to me that this and Hors Satan
are sibling films: Hadewijch
is all about the close-up, the human face, overt emotion, and finding God or the spiritual/divine in a fellow human being as expressed through love. Hors Satan
is about landscapes where human figures are just a tiny element, dwarfed by the magnitude of their surroundings, the question of morality and elemental forces. Once again we have God or the divine present in a human form, but this time it's the supernatural, that which transcends humanity, even death. The hopefulness and genuine spirituality (though not an endorsement of religion by any stretch) at the end of Hadewijch
really took me by surprise coming from Dumont, and I found it quite moving.
As an aside, when Céline approaches the pond in her distraught state, I thought to myself "Wow, this is kind of like his Mouchette
." Then in the extras, Dumont spends several minutes complaining about everyone comparing him to Bresson and giving several valid reasons why this shouldn't be the case, even though I think there are still a lot of commonalities.